70 
RERAMIC STUDIO 
between the two layers of basket work certain leaves are 
inserted to make the whole water-proof. 
The illustrations in this article and mucli of the infor- 
F1G-. 3. YAQUI COVERED BASKET 
mation, were taken from Aboriginal American Basketry, 
by Dr. Otis S. Mason, Curator of Ethnology, U. S. National 
Museum. 
■ -f -f 
JEWELRY AT THE EXPOSITION 
There was not a great deal of jewelry from the Crafts 
shops in this country at the exhibition in vSt. Louis. 
Among other things Francis Barnum had a pierced silver 
pendant set with turquoise and pearls. 
Jean Carson a silver brooch and pendant, James H. 
Winn, a silver brooch with green enamel, a gold scarf pin 
and a silver pendant Fig. 1. The pendant was carved and 
finished with small punches. Translucent enamel was put 
in the open places and the pearl attached. Tlie chain was 
made of two oval links, twisted, cut open and twisted 
again, finished in green gold. 
Mrs. Sears exhibited a gold necklace (Fig. No. 2), set 
with stones and enameled. 
FIG. 1— JAJIES H. WINN 
Mrs. F. C. Houston exhibited a silver pendant (Fig. 
No. o,j set witli chalcedony and pierced. 
PIG. 3— MBS. F. C. HOUSTON 
FIG. 2— MRS. SARAH C. SEARS 
ANSWERS TO CORRESPONDENTS. 
E. D. — Enamels blister usually from tuo much oil in the mixture or from 
too rapid drying. The kiln always has a belter draft if the chimney is high. 
If in the cellar and coiiinuniicating with a flue in the house chinmey the draft 
should be gofid, as the cliiiiiney would be tlien |)n>bably two to three stories 
high; good firing has been done with a short chimney but it is safer to liavc 
as much as possible. A damper in the pipe is a good thing as it can be sliul 
after turning out the kiln and will keep the kiln from cooling too rapidly, 
B. L. K.— ;-F'or a shaving set, an Indian design would be appropriate in 
soft colors. Buff, black, dull red, with perhaps a touch of blue or green, on a 
light tan ground. For a loving cup, any conventionalized floral or fruit 
motif would be appropriate, or cupids done in the fiat with (jullincs and 
arranged in a design. 
G. W. M. — We have never tried a mat color over a glazed color. \'ou 
had ttctter make an experiment on a broken bit the next time you fire. We 
would hardly think a lighter mat could be made to cover a darker color. 
We would Ise interested to hear the result of your experiment. 
In mixing two mat colors, it would be best to rub them down lhon,>uglily 
with alcohol, then when dry, which will be very soon, the mixture can be 
easily powdered again for ground laying. The Royal Worcester finish and 
others of the same kind are put on the white china to make a dull finish, but 
if glazed colors are used over it, even after firing, they will show a higher gloss 
than the ground. This finish can not be mixed satisfactorily with overglaze 
colors. The mat colors are hardly suitable for painting. They are used 
chiefly for tinting or grounding in conventional work in combination with 
gold work. Use the Hard or Unfluxed gold over raised paste, two good coats 
are generally enough, but it is sometimes necessary to go over it in a second 
